Флейта в камерно-ансамблевій музиці Ф. Пуленка

Abstract

У статті досліджується жанрово-стильова специфіка камерно-ансамблевих творів Ф. Пуленка за участю флейти. Спеціально виділяються такі аспекти ансамблевої флейтової музики, як зв’язок з національною музичною традицією, ансамблеві функції флейти в інструментальному складі, а також жанровий аспект.

В статье исследуется жанрово-стилевая специфика камерно-ансамблевых сочинений Ф. Пуленка с участием флейты. Специально выделяются такие аспекты ансамблевой флейтовой музыки, как связь с национальной музыкальной традицией, ансамблевые функции флейты в инструментальном составе, а также жанровый аспект.

Chamber ensemble works for flute by French composers of the first half of the twentieth century, did not become the object of special scientific interest in the concrete, therefore, appeal to this area of flute repertoire seems to be actual for modern musicians. Chamber ensemble flute repertoire, created by composers of the twentieth century, where French authors occupy significant place, is not without interest as a specific genre sphere of flute music, in which extensive and various sounds of flute formed as an ensemble instrument. In the works of the classic of French music of the twentieth century Poulenc flute is widely represented in the chamber ensemble works: the composer addressed to this instrument at every stage of his career. A variety of experiments is typical for chamber music for flute by Poulenc – both in terms of genre, and at the level of musical language and expressive timbre. Researching the flute ensemble works by Poulenc it is necessary to notice some aspects of their genre-style specifics. The genre aspect reveals the connection between the individual composer’s style of Poulenc and genre traditions of European and French music. Priority sonata genre in this case points to the traditionalist orientation of chamber and instrumental works of the French composer, which is focused on the preservation of the genre under the conditions of radical renewal of musical creativity. However, such experiments in the field of chamber music ensemble as «Negro Rhapsody» refers to the principle of genre fusion realized by combining various traditions of the genre – folk and ethnic (Rhapsody) and Baroque (suite). The interaction and correlation between instruments in the ensemble composition as well as the question about the types of tonal interaction are of great importance. In each case whether mixed or single type of ensemble – the performer will experience various expressional and technical problems. A mixed type of ensemble that implement traditional idea of concerto and virtuosity is of particular interest. The principle of a concert instrument or orchestral group was one of the leading lines of chamber and instrumental music of the twentieth century, defining the style of such directions in music as neo-classicism and expressionism. This idea is particularly relevant in the chamber ensemble music of Poulenc.